'MMI Hil xtunaam ^Bl—i- 1 h t ^ 1 i Cornell University Library NK 3600.J631 Manuscript & inscription letters for M^^ 3 1924 020 596 601 »_\ m Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020596601 MANUSCRIPT & INSCRIPTION LETTERS FOR SCHOOLS AND CLASSES AND FOR THE USE OF CRAFTSMEN By Edward Johnston, with 5 Plates by A. E, R. Gill. ^ These 16 Plates are intended as a working supplement to my Handbook, "Writing and Illuminating, and Lettermg (to which frequent references are made under the letters «W. & L."), but they form a complete scheme in themselves-based on the class-sheets and class-notes given to my students during the last ten years- that I think may be of value to craftsmen and designers as well as to instructors and students. Considerable changes have been made in some of the sheets, and some slight differences from the diagrams in the Handbook will be observed : these have all tended, I think, to come nearer to the essential forms. The most important simplification of form is in the Versals of Plate 5. This scheme is indicated by the CONTENTS Plate I. 2. 3- 4- 5- 6. 7- 8. 9- ID. II. 12. 14- 15- 16. Plan for a Manuscript Book "Square " & " Rustic " Capitals " Uncial " Letters . Modern Half-Uncial " Versal" Letters . " Slanted-pen " Small-Letters " Slanted-pen " Capitals Italic Manuscript Pen-made Roman Capitals A Title Page .... Caslon Old Face Type Alphabet from Trajan Inscription Roman Capital Letters (incised) " Lower-case," Italics, &c. (incised) " Raised " Letters, Capitals, &c. Roman Capitals, " Lower-case," &c. (brush) , The Book, the practical base for MS. work. The beginning Book-hand. . The penman's Large Book-hand. The penman's Small Book-hand. The penman's Initials (or Illuminator's pen Capitals). The advanced practical Small-hands. The advanced Written Capitals. / Example of a formal modern MS. A simply made large ALPHABET. Example of modern decorative Wood ENGRAVING. A good modern type-face for PRINTING. A scale drawing of a Classical ALPHABET. Example of Capitals cut in STONE. Example of " small-letters " cut in STONE. Example of Capitals carved in STONE. Example of Letters for SIGN- WRITING. Plates 10, 13, 14, 15, are collotypes from the actual works. The other plates are photo-lithographs : Plates 12 and 16 from drawn and written originals, Plate 1 1 from type, and Plates 1 to (^ from manuscript copies and examples {Plates 4, 6, 7 have been reduced \ linear). Early MS. cannot be satisfactorily reproduced by a line process, nor can it be drawn. The early MSS. here given are, therefore, freely written copies rather than facsimiles, and detailed notes and references are added to increase their accuracy. They are all exactly as written [with the exception of a very few repairs), and most are absolutely untouched, so that they exhibit certain natural breaks and roughnesses, which, though a more skilful pen might avoid them, are of value in betraying to the student not only the forms, but the actual manner of their construction. Note on the Pen : The importance of the part that the Pen has played in the development of letters cannot be over-estimated; and I believe that it is beginning to be recognised that the best way to study letters, or even to "design" them, is to practise oneself in the use of a broad-nibbed pen, which will, after a little acquaintance with good models, practically make the letters for us. For the most accurate work a sharply cut quill— or large reed— (W. & L., Chap. II.) is essential, but some valuable practice may be obtained with one of the many " round hand " steel nibs that are ndw sold. A THEORY OF CALLIGRAPHY. <' Alphabets wrested from theii original places in MSS. and Inscriptions are in danger of becoming mere '' copies^'' or crystallisations, that may breed literal copies aud inscriptions without spirit. As an '■^antidote" therefore, to this collection of Alphabets, I have tried to suggest their fine beginnings, and right, or at .least, sound, directions in which they, may be followed out. The point of view of the early calligrapher was most direct : in the first place his Manuscript was to be read, then, to be played with or glorified The later men probably thought more consciously of '■'■beautifying" {which is the beginning of danger), and in the last stage " Illuminators " descended to every kind of artifice. It is possible even now to go hack to the child's — something like the early calligrapher' s — point of view, and this is the only healthy one for any fine beginning : to this nothing can be added ; all Rules must give way to Truth and Freedom. September, 1909. E_ JOHNSTON. SBBB ___ Qj D£Nr_ not; butthat it is of greatest concemmait iin the Chun^ & OmmoaH wealth^tD havt a vigilantr^ 9?e how Bookes demeand tihemselves as wdlas men,; S^thcjeafter to confme^im^ prison, & do sliarpest jus j tice on diem as malefectm^: ForBooks ate not absolute: ly dead things^ but doe con- tain a potencie of life it\J them to be as active as that soule^vas whose prDoeny!__ Jthey are } nay th^ do preserve . as in a violl t3ie purest eE*^ cade & extraction of -dmtr Rving intellect diat bred; kiiem. I know tli9r are as i jlivdy^^as vig3tDusl^p:oduc- Itive^ as liiose fabulousDra- g>ns teedi; anb bono sown, up and down^may chance CD sprinqup armed men. iXnd y&c on die odiet — ^ hand unlesse warinesse be us'd^ as good almostlill a Jvf an asldll a oood Bookj^ Plate I;— PLAN For a MANUSCRIPT BOOK. The Book is the most practical base for the student of Manuscript Letters and, through them, of Letters generally. (Ref. W. & L, Chap. VI.) The traditions of the modern Printed book are based on the traditions of the early Manuscript boolt. The Printer in his 450 years of work has given permanence to the " roman " and "italic" types and adopted the Title-page as a fixture, but he has added nothing. And though printing is, and the printed book may be, a good thing, the tools for its practice are not, like those of the scribe, at every one's hand. Planning the Book. The page, the margins, & the writing should as much as possible jf///f themselves. 1. Size of Page : Matter, Form, Use, Paper &c. ought to suggest this. Paper sheets, of the common sizes 6? proportions (ait. 7 : 9), may determine the size &f shape of page by folding for folio, 4.to., ivo., ^c. Similarly, the economic cutting up of a skin may help to fix the Vellum book. 2. Size of Margin, or proportion of Text to Page : in ordinary printed books Text=abt. ^ area of Page : in MS. Books Text=abt. f area of Page (as in above Example). The Traditional Proportions of MARGINS to each other are, Inner lA, Top 2, Side 3, Foot 4 + . Note r in a page of the common (folio or Svo.) proportions of 7 : 4^ (as above Example) Height of Text column = Width of Page f Tjie area of Xext wm then = f area TT7-J 1 c rr ^ 1 o Ti • v.. r-i? i °^ P^^ ^"^ 'l"* wiH allow the right Width of Text column = f Height of Page ( proportionsofmaigin exactly 14:2:3:41. yCtmmm Pnfctmi 7 P» SHEET /oU make i 2 5 'i * 3 4.+ 4^ Pnportioiu 9f Moijint Size of Writing : Governed generally by the number of words to the line : in a poem this is fixed, in prose between 4 & 8 is a convenient number (ordinary printed book = 8 or 9 : MS. Example above 5). Making the Book. Every process should be as swift and workmanlike as possible. Preparing Pages : The Top edge of each book-sheet is cut straight and the fold is at right angles. All exact measurements are made from the Top, downwards, and from x\\&fold, outwards. Ruling : Lines are ruled with an indenting point, or a fine hard lead pencil. The vertical marginal lines run from head to foot of the page, the first and last horizontals may run across (as in Example), or stop at the vertical lines. All these lines or some of them may be doubled. Writing : Write as straightforwardly as possible, leaving spaces for the large Initials (v. Plate 5) i, 2, 3, or more line-spaces high according to their importance. They are generally put in afterwards in colour together with rubrics feff. 7he intention of the original Text must be the first consideration. Binding : The written book-sheets are gathered into quires or sections, generally of 4, and sewn on to tapes or strings. •kocl Ccfitt and Examfla, No. 2. John Hoot, i^-~tiemetter Row, London. Kermolj V penpositicn;^ O PORSTVXY^J "^Liwz SqU\iyECAHUls''jn«jy copied witKapJTmna,pW^ tth.orSth.Gntury MS.fVer^l3-ak.2ce.tkKei^oj^crK^nak AQCEDENS AVTEM TRlBVNVS, DIXIT iLLl : Die MlHl SITV ROM\NVS ES ? AT ILLE DIXIT: ETlAM-ETRESPONDir TRi BVNV5 : Ego MVLTA S VMM\ CT VlLlTATEM HANC CDNStCVTVS SVM ♦ Exonwlt of(mo(Um) WritinO- Nott; the wcmli'on paci«d'andsefarattn(W:u>ihe eariyMSS.theitwtusno^uchdivimi. (V\ctiisAp(tftolorum;5Xii-;5^ MCDffGffiLMNOil iuggeud modem A , jonni ) "Ml •« " Rustic OVPITXLS jttely copieclwukapmjW^pliotMnujh ^^ MS.{yer^l)-ak.2a.the}iek|jtf of(m<«jial5. Plate 2.— "SQUARE" & "RUSTIC " CAPITALS the two great Book-hands of the 3rd to the 5th century a.d. Construction: The Square capitals followed the inscriptional forms (cf. PI, 12): theRustic variety was more easily written. Both are written with a " slanted-pen," i.e. a pen so held or cut that the thin stroke is oblique / : cf. " straight pen " (PI. 4), the Square with a slight slant /, the Rustic with a great slant /. In either case the position is generally uniform, but the slant is increased for all thin stems and the nib moves on to one of its "points " in making some of the terminals. Use : The SquareMS. rmkes2L beginnitig book-hand •,i\vt Rustic an occasional hand ^ a basis/or omamental/orms(W.&c'L.,-p-2^'j.) School Coput attdExamfla, No. 2. John Hogg, 13 Patenusttr Rm, London. klCDHOpOK UA AK16 coL5 an6 HeAC sbAll NOT ceAse , Plate 3. " UNCIAL " LETTERS : a modernstraighi-pen {note 2, PL 4) form of the later yth-Sth century Uncials : the earlier forms were slanted pen (of. 2, PI. 7). Uncial writing was the chief Book-hand from the 5th to the 8th century. The letters make a fine large Book-hand used alone, or they may be used together with the Half-Uncial hand in PI. 4 as Capitals (to be written with the same pen). They also offer a good basis for ornamental forms. (W. & L,, p. 300.) Sthaol Copus and ExanfUt, No. z. /»*« Hete> «3 PaittndU Sow, LoxtUn. parstiiywxyz & M THIS MODERN HALF-UNCIAU is motr ftiuslied JhtmmRt sdxuQTOperL'wriluru^ :t^ ixjimb^irprifllu^fonrnriQl^ tiKe letters cire^jotneb &wnlterLlxt>veoiline^ Rmrum l Hoy Uiuiat alt. 5*00^.0. J Irish (, H.U.alir.7ooA.DL strokes^ ^TKAlGHT-PEN'Md'klTlNC — die torn lued ky E/«)mJtul!StEii Of topiDiluct^ | | jxtaxAf horizontal thini ^ aiuL Vertical thicks (j ) . I. 'Niboit^ 15 MODE »f W IjintnDiz) tuids tx) promote RoundnOS, " ^ytmrutiiciil Tnovutunts ' + SUntlit I 1 X ^_ ■^ ^THEIu)nzontaImov(menr()rthcpmnU>1znlE5nvUGHTPEi^HANM areTO»em%writtoibel»wainJolliiuS:' ^.^^ thUoaisto^apxidutDpsmdffiuU'pitcurYes if^Uam.md T | cmttibttfes tovuir roiwdaas andj IN PEN (SltlO] WH^ PUaED CURVE 7| in ocdfigoq&c. Ivaa Icla n TRIANGUUR yWWjklufltc. d-farmaliiff. 'Note ^^ , .-wnfatuuililtc lUiUNCJ is ff'At&t vmfmtaiuz in Manusawt-wmi^, von.. and UPSrWKE upoa-ditltimt Itismait ■widitt"^" qualranr Stroke k mmM- THE .JLftNTBD-PEN """^"H ttit'5rtmi*»oi7+'i»r(>) tsuVtahtto* Plate 4. — This MODERN HALF-UNCIAL has been used by me as a "copy-l/oek" hand for students of Penmanship since 1899, being gradually modified to its present form. Its essential roundness & formality discipline the hand. Its elegance (due to the gradation in its horizontal curves) has an aesthetic value and fits it for certain MS, work, but unfits it for mzny practical uses where thin parts are liable to damage (e.g. as a model for type or letters formed in any material, or to be read at a distance. For such purposes the "slanted-pen " character is better ; see Plate 6). — E. J. It \s m tStzt the '■^ straight-pen" forms of the "roman" small-letter (that is, practically, the Roman Half-Uncial) with the simplest necessary finishing- strokes added, and its general character assimilated to the Irish Half-Uncial of the Book of Kells. It therefore represents the ancestral type of small-letter, and is a good basis for the later hands. (W. &L., p. 304.) School Copi€i mdExamfta, No. v. John Hoa. 13 PaUruntir Row, Londom. ABCDEFGHILM The Capitals A to X ate fteely written copies of lOda. Gentury (brms. TJiw ore here made nidierttgh.tierAvtAlhe acaption opAAfirtk lower thinTeiminals ui(;^fL5,aretuni«ddown: oitexwisfdmatt r-tixdiy tdenttmt widt didr or^nols . toX. art modrntpen-miuUfmnu to nuitd; !"Db66hkDn$tXlAGRSK ' The CapitalsDto Uare fre^ written, copies of rourib fiirmS in use in MSS. ftom the lOdi.to the l2tii. Century, f Aa» Ryire v((ri«us_I-l>nsei ro cariy Wu^ CONSTRUCTION. Vered LetUBOslieregivoiart Tte-nade/Buik-Up^RnmariU^ Pen-made ; -"Nvritftn iW9y wiA ashaiptycut, broad tiit Ajtntiulfy a.littU tiantw'erthaniht sriprpm - see footnote ) otullrit imtnuched . ']^^D^- EoA Letter 15 nuuUwldia.{^ivmTUHnW of pastrolw ihujfA &,B8, C7. Eio^ Sa); '^\ X \ f P<»" "i^ng" th.e thick' Bovvs'in "B, C, D, & \) «m I ilkmsUst&bKt/JL. V_x X tUutenf._ the outer curves '. [nW : in liie example of'SqUARE'Cofituls above 1 Tiove emnhorized their Ronum Oumattr hfrnaiam cothic abrupt Xflman uirvesofB,C,D,G,0,P,q,R,U^j?nrt:,amlaxld4i.jthei:inercurves. EJ.) "^^ !K niuianid- chinw DEVELOPMENT. BrqodJy/itnw^besoidliiattlit ROMAN CAPITAL FORMS were uiedjtrrkttlt'Up Book-Initials Si Headings tUlthc 10th. Century ; ilic'ROUNJb'writinff-'EomiS (wiA-tlu excqjtion ^ tJie omcanerttal Gapttols of the Insh SdwolHeiiur commonW ^utortlinate -as VERSE -INITIALS — Uss Jflrnto^ and tnoTE Jhmldy wntt^. — M^X^ Fr«nn^elOth.tstheiath.CeTitury thtrt wosad^ortuitJTimitJusevOTTloTnanjt^ ^B l^^x^fTV /'^ ~I%.T"3€ Itwoukseemthorthepentnen— enu)lWiaiTiff;thepen-chara^ — -rmuk v^ I f |T9 1^1 ^ r\ (tttoteruse of tiiC ROUMb finros^ SJcttve a W I 1 V*^,-*^^ ^iW^ / ThwaUoda»TTitd.ikm^fWtshma- toils 8r ports -■- f FwmaA.CouujyMSS. j _/ bytn^odkltioTioPdecarativE knobs. &? buttress-strokes (v. "oNTi.). ^ ^ AAar the iliR. Century -ftie Initials were jiirther curved cmdAttenal and ffenera% tnode mort $howy. Added omommr tBokthc plaaof sin^jWishino-^ anb a. -hfpe of " Illuminated Initial "— pAops too weU Known - was tJ« jimil oitaotnc . TTieirtrtotmmtrdarwOThijlotf de»d&jwn£nt\vas»i«nh0mioniou5andT3eau^^ ccrniylexotuitiwTmdi cgmpottndedoftiuirtimc fin'ustatakeast^ Plate 5.— " VERSAL" LETTERS, or early Illuminators Pen Capitals, used in MSS. for Book-Initials (& Headings of Books), Chapter-Initials, and Paragraph or Verse-Initials, and even for coloured capitals in the text. Construction : The width of the nib affects the character of the versal from the strongly written with a broad nib {Gen. note, PL 6) to the practically drawn with a narrow nib. Drawn or painted they properly acquire a different character. Note : these examples show breaks and roughnesses that I had not skill to avoid, but left untouched as any trimming spoils their direct character. — E.J. The versal is the original of the Initial which has been the basis of Illumination for the last 1000 years. (W. & L , p. 205.) School Cofat md Examplu, So. i. John Hogg, 13 Pattnvutn- Son, London. LETTERS COPIED 1 I- tutinopqru l6teii«Taic idoniul mvum USHTER'mpiijnnM: aesfef3 wkidi it is dw^ rdatci) mtnxre minuf^ ur p-e^- nocd- ecft^ixT EX- CAROLINE MS. ♦ / ^ vWierethe ondirii ttpcStntaovEof tKe. onastJTd^efitrmwkich I^ 'u-oitonoU I_^Xr,)^ "^ disiMi*oiuiunp(maitTTPES-{lJvoopMmiWtn(y ber^nnldbyujajfer^^ ijiniliei dhi Kt.), vcceptm'^Si'\^ ])\si(k ictter{T?«ea.fyjw^tki5m£„j.&w.ttcM««ihek^t.5tuby]smTi tolt£ cuid ^TominTsmall Letters abcderraiJKUTiopaqTstumvz, >AN ITALIC HAND taiichir»]van(mi.dum«tiEis amb of the farw(n M te.) S eamdaiy .c/wmctoimiJ ait 1 . Elo^^ CThii lotto; pi>babk?riwl«aitcs5mtwl,liaJbeOTtmdulyaafl^^ I ( HI* abbcder9iiiikllmnopq& 5 tofLw tKe omtnilpf.tie pen (fee General Notej-" 1^ -.1.. ,.^_>^.: — '--J— «»niaJuj!0| nmnW al fom it Jy {«■) mitidna liglitcr(b5tiiaJuj!5 nmnW (nuuU with aldoffttd-fen'/'/or oiw ofihescjmis') $9 A ROT^4A>J^SMALL-LETnfEI^T4AND(Wc(lWikBun^^ (^l.) above, oni(W5miUatEd to tkltalumFor^ "Vancitf cfmrocttp-tTK^**'- ^ (kvelopedjWidiisejcaniplety VJHyingtfievreight&ctrec^ (^e.*: the roti»iikplattl4^i^i'.,ua,tieai^JtmwhfcptJi5i}>e)- GENERAL TsIOTE § Aveiy broaimbstnni^OTitroU.dielrttir&tmdstsjw^ ,rib;i;b" Anamw nib iftnore under nbe amlwlof tlic Wrto-aJtidilr (midW^^c^^ o-mOTtronumTcluunartBUttOTi^felwhtlieinjemuil) Plate 6. " SLANTED-PEN " SMALL-LETTERS, //o/4>t Cofiet and Examples, No. a. John Hagg, 13 Patenunter Rem, Lanian. COVuSmihcTmnlMl\SllCR0Si-STl!U)liEasmihesiSkeltm/^A TT/T K /fKTOPnDCT']' [AAAATVT [Wmvise A^&'Vl^(i7)may iuttyrownsireku(orltlAAMN)j5itch.Uttw ituwbe coUol'SQUAREWcRass-IBPPED' wthioTO desiniHtincfliisi«enxi«,lhe'SUnttd-PEN'-fininsa«liOTjj^ ABCDEFGHIJKLM ISJOfmSTllWYZ mx^ be CoM tk 'ROUND VbrANCH-ToPPED 'UtterS: *t SlaraKd-PEN'fcrms an mven^hcre . BDt)eFGbkCnnR AiUttional Vorittvet of Form not indudttl in dove Bumjler ;, to be uMd Jr^ tD«dit];fff ONE A^Adirtiurt pnl^JvrdttlVmiu - . ou - V urtnthtiame MS.oiui EVEN in tht aune ^wmI . TJieJonw awen oiownSy btvoriul in tvoy dtttiU;&thealttmtion ^dwir propottions (te PI.5.) or weijjfit of pen-stroke (ja 5na.>Joa,Pl.<.)wi1tfitrdieroi»t untsU vuutus . General "Note. Thtse ■dint"AlphaieO — SQUARE. R.0UND,8tFIDUIUSHED - ore tobt tmartiai as voiyuM^jtmni,tobeii«djn^iDmdi«;»f ONE A^iflbrtiurtpnjl&ferdulVmiuiii . Provided, the Tenrriib 8c the movemencof it aK.kffitum£ii:m,tiwd^retrjWsb^^ oniTnay occurtntht fame .MS.onk EV6N in the Aune wnl . ^LATE 7. — "SLANTED-PEN" CAPITALS, showing admirably the constructive power of the pen in making characteristic letters out of skeleton ABCs : they are not directly copied from or founded upon any given MS. Note : In mediaeval times Capitals were not so much a necessary complement of small-letters, as a different and more important type of letter, used chiefly for large Initials and Headings : and a standard type of simple text capital to match a standard small-hand does not seem to have been recognised before the 1 5/A century. Any of these may be used (modified appropriately) with any slanted-pen small-letter, such as those in PL 6, or for MS. in capitals. As models — ^particularly In the method of their making — they will be suggestive for craftsmen generally. Schott Cofm and Exampin, Nc. a. /»*» Hitg, 13 Pmttnuattr Rtm, Lndan. TiOK THAT TIME EVeHSlNCE, tJie^aiJTicncls op TniA,5udi as dut^sr oppcm; irnitattmr die carejutl seoroi diot Isis made ftr die mandl^i ho^ of Osiris^ went up &d(nvn cradiemw up timt ty Umb 5tiE as di^ coidMmb ' mrWeKovenotjetfounbdicma^ Lords and Gnnrrums, nor ever sludt doe^ tillliefVfastm second commt he sKoIl InmartMdicr evoy j oynt member^ &snauWd^ mem into an immomdLjmmitoFlovelincs OO ^ perfMon Plate 8.— ITALIC MANUSCRIPT, modern, from PI. 6 (the Roman small-letter from PI. 6, the Capitals from PI. 7). School Ccfiet and Examfla, No. a. John Hogg, 13 PaiernotUr Rtai, London. AABBCD DEFGH 1 J ] KLMN O P (^QSSTU VWXXY Plate q. PEN-MADE ROMAN CAPITALS. Construction: freely tohV/^w (Nib-width = Thin-stem-width, c/ N). built up as versals are (see PI. 5), but the serifs here blend with the stems, of which they are an actual (not an added) part. Proportions (Classical) : WIDE (width=abt. height) OCGDQ & HAMNT(U)VZ(W), NARROW (width=abt. i height) BEF(K)PRSXY & I(J)L : all may be varied. The Curves all follow O, which is here " upright." For occasional forms any parts may be drawn out (cf. skeletons (3) PI. 7). Development: The pen originally helped to characterise Roman Capitals by determining "thicks'' 6? "thins": for further pen developments see Pis. 7 & 10. Schtel Cofia and Examfles, tfo, 2. John ttfgg, 13 Pattrrutter Rm, L ff SJ CO J2^ w ■-IS '-' o ST'o '-' ^ 5-H p ff > £^ ft h-c I" ^n «■ '-' C/3 ?-£-RP n ^-^ Cfl O '^ UM rdin; ame 3 ^ ?d ALS inscr e mo i-j 1— • fj T3 -• i-f 3 ^ 5" D. en? p « ^' w fD ^ p- rt H-. " S. M :z! on 5 M 1/1 ^ OS 3= C 3- Cii ° n « 3 -1 ^ n n 3 "<» 5. O P- >: - -^ b n r.^. I C^ n" 3 ?r p. O ff 3 05 3 ■ ? s •1 o 3 h— » sr n 2 n 13 £2. ■a 3 n' CO i-t -a r+ ■[ yi n. o 1 n 5^ i-t- > 1— 1 fT •-I p- C/2 W^ C/} CD W o "1 £- a St* "-1 o r+ o s. 1 ft ^ -^ ff p H s -1 CO 3 P- W n O -t •^ C/2 •^' ^ 3 1-^^ o CL 2 o O a & > cc i/i •^ ^ ■ o l-l S- H 'c/5 o^ ft > -« cr t- o CO C/J • cr 9? 9? 5' c CO ►I o 2; t^ ^ 3- c! ? 3 5 1 3 ft ^ ?d ^ > ^ 3 o 4- 1 O H CO 3- < ft ft ?o 3^ Cu £. •n 3" ' Crt' ft Pu 3 (0 1— 1 3 ■0 PL. CO ft 3 o o' 3 ^ 3 CO CO P- o O 3 "+> an ft ,_^ »: 3- 3 5 ft ft ft ^^ i H ^ ^ ft o > o s. w l-fr n ft CO »3 (^ 3 f-t- 9. rt- sr )— • c ft (— • t-t ft o s. ^ «N ft •-t 1 CO ft n 5* i 0' oq^ 3 rf- RP C CO 3- ft P p- 3 J ■.» ^ S 5 r g n ^« r^_ 5' v< 05? p M NK343<5 The Artistic Crafts Series of Technical Handbooks. Edited by W. R. Lethaby. " We would have this Series put Artistic Craftsmanship before people as furnishing reasonable occupation for those who would gain a livelihood. ... In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts : there are more than enough of us ' in the City,' and it is probable that more consideration will be given in this century than in the last to Design and Workmanship." — Vide Editor's Preface. BOOKBINDING, AND THE CARE OF BOOKS. A TEXT-BOOK FOR BOOKBINDERS AND LIBRARIANS. BY DOUGLAS COCKERELL. With 122 Diagrams and Illustra- tions by Noel Rooke, and 8 Pages of Collotype Reproductions. 352 Pages. Price 5s. r\tt. ^{Second Edition.) \ "An excellent book opens 'the Artistic Crafts Series of Technical Handbooks.' " — Times. " It would be hard to find any technical book of this kind which gives more importance to considerations of good taste than this. ... It leaves no part of its subject unaccounted for, and is in its own printing, binding, and illustration, a favourable ejcample of good craftsmanship. Valuable in itself, it promises well for the series which it o'pe'as." —Scotsman. SILVERWORK AND JEWELLERY. A TEXT-BOOK FOR STUDENTS AND WORKERS IN METAL. BY H. WILSON. With 182 Diagrams by the Author, and 16 Pages of Collotype Reproductions. 348 Pages. Price 5s. net. " A lucid text-book for students and workers, well illustrated, being the second volume in the series which made a successful opening with Mr. D. Cockerell's ' Bookbinding.' "—Times. "It teaches not only processes and workshop practice, but also good taste in the making of objects in which in these days vulgarity is none too seldom seen. Admirably illustrated, well written, and practically serviceable, the book should prove welcome alike to craftsmen and to amateurs." — Scotsman. "... Will have a fascination for all craftsmen, and may be read with advantage by every one who wishes to understand the underlying principles of the art crafts." — Morning Post. "We cannot imagine a better aid and supplement to practical experience in the workshop than this handbook. All necessary processes, from the simplest to the most complex, are explained in a methodical and logical order, with the aid of illustrations, in which each touch is eloquent and fresh from the master's hand. " — Athenaum. STAINED GLASS WORK. A TEXT-BOOK FOR STUDENTS AND WORKERS IN GLASS. BY C. W. WHALL. With 72 Diagrams by two of his Apprentices, and 16 Pages of Collo- type Reproductions. 392 Pages. Price 5s. net. " Mr. Whall addresses four classes : the workers, the artist-amateur without any technical skill, the patron, and the church architect. ... A very careful, concise, and artistic work." — Pall Mall Gazette. " Fascinating and instructive. . . . The book should also prove of great service to those interested in painted glass, whether as custodians of buildings containing fine old windows or as architects or clients intent on securing good modern work." — Glasgow Herald. " The highest praise possible for this handbook would be to say that it is worthy of the remarkable series to which it belongs, and this, without reserve, we can affirm to be the case. Mr. Whall is a veteran at his craft." — Arts and Crafts. Further Volumes in WOODCARVING : DESIGN AND WORK- MANSHIP. BY GEORGE JACK. With 78 Drawings by the Author, and 16 Pages of Collo- type Reproductions. 320 Pages. Price 5s. net. " Those who practise wood-carving will find in this admirably written and illustrated book a comprehensive treatise on the subject." — Morning Post. " The illustrations complete in a very appreciable way the value of one of the soundest text-books within the reach of the student of woodcarving." — Glasgow Herald. ' ' His illustrations from both ancient examples and from his own work are excellently chosen and reproduced, and show that he has made himiielf the master and the pupil of the best traditions of his craft. " — Pall Mall Gazette. EMBROIDERY AND TAPESTRY WEAVING. A PRACTICAL TEXT-BOOK OF DESIGN AND WORKMANSHIP. BY MRS. ARCHIBALD H. CHRISTIE. With 187 Illustrations and Diagrams by the Author, and 16 Pages of Collotype Reproductions. 416 Pages. Price 6s. net. "There are various publications already in existence from which one may learn something of the mysteries of fine embroidery, but we know nothing so wide in its scope and full in necessary detail as Mrs. Christie's. " Birmingham Daily Post. " The illustrations are certainly designed to simplify to the student the details of the work in the clearest and most simple form, and the letterpress is equally explicit. So successful is the author in this respect, that any clever needlewoman might easily, without any other aid, acquire executive skill in this ancient and beautiful art. " — Auckland Star. WRITING & ILLUMINATING, AND LETTERING. BY E. JOHNSTON. With 227 Diagrams and Illustrations by the Author and Noel Rooke, 8 Pages of Examples In Red and Black, and 24 Pages of Collotype Reproductions. 5 1 2 Pages. Price 6s. 6d. net. (Second Edition.) " Is itself a striking example of artistic craft, containing a wealth of beautiful illustrations, and being produced altogether in a style that makes it a pleasure to handle the book. Mr. Johnston has dealt with his subjects in the most complete manner, so much so that any one who thoroughly masters this volume will know pretty well all that there is to know about Writing, Illuminating, and Lettering." Newcastle Journal. "It would be almost impossible to read this artistically conceived and executed volume without gaining benefit beyond anticipation."— 5/i(^«/rf Independent. " No mere writing will fittingly describe this delightful hook."— Art Teachers' Guild Record. "It may be doubted if any one has ever before so carefully explained how to write." — Tribune. Active Preparation. SCHOOL COPIES AND EXAMPLES- SELECTED BY W. R. LETHABY AND A. H. CHRISTIE. 12 Drawing-copies (i in colours), I5f x 12, with Descriptive Letterpress, in a Portfolio. Price 5s. net. *,* Projected as a Standard Series of Handbooks on the Artistic Crafts, suitable for Schools, Workshops, Libraries, and all interested in the Arts. Each Craft will be dealt with by an Expert qualified to speak with authority on Design as well as on Workmanship. Published by JOHN HOGG, 13 Paternoster Row, London, E.G.